moemenamaneman Reviews

The Legend of Calamity Jane (1997–1998)

A fun, action-packed Western for all-ages.

[6/10 · 4 May 2024]

Considered "lost media" for a very long time, the Legend of Calamity Jane was a short-lived French-American co-production that originally aired during the Kids' WB programming block in the United States. I remember watching a few of the available English dub episodes on YouTube in fuzzy VHS quality years ago, but with a high quality re-release coming out just a few years ago, I thought it would be a good time to give it a proper watch. And honestly, despite its flaws, this show is actually a surprisingly solid kids show. At the very least, it doesn't deserve to be forgotten like it has.

The titular Calamity Jane is a fictionalized version of a real person: Martha Jane Canary. To the surprise of no one, the show isn't really pressed about historical accuracy and such. And personally, it's all the better for it. Jane as a character is what you would expect from your typical Saturday morning cartoon heroine: smart, strong, cunning, and able to get out of any situation she finds herself in. Alongside her bumbling sidekick Joe Presto (voiced by Frank Welker), as well as a rotating cast of characters, she dishes out justice in the 1800s wild west. What immediately stuck out to me while rewatching this series was that Calamity Jane herself is actually a solid character. Sure, it's not always interesting to see a do-gooder do good all the time, but this show does a good job of giving her some balance. We get to see glimpses of her past that show a surprising amount of depth and complexity for a show of this kind. You can really tell that Warner Bros. And the French studios that worked together on this show did what they could on what was likely a very small TV animation budget. The secondary characters are also fun to watch. This show loves to pair Jane with different combinations of characters, and it's nice to see them interact in different ways, whether it be cracking jokes together or arguing about who's the better shot.

Another thing that surprised me was just how much gunplay there was in this show. People online make a stink about censors and the FCC being overbearing, but this show isn't afraid to show some action. Sure, Calamity Jane mainly uses a whip on the show, but she's shown shooting and injuring a lot more people than you would think. They make a point in one episode (Protégé) to show why Jane is so apprehensive to use a gun all the time, and while it's a tad contrived, I think it justifies it well enough. The baddies always come out with guns blazing, so it's not like they're hiding it. Plus, the whip is plenty interesting, allowing for some exciting action that just guns couldn't satisfy. The series also doesn't shy away from death, assassinations, racism, prejudice, misogyny, and other adult themes. Of course it's all made palatable for children, but it's certainly there. And yes, there's also plenty of late-90s silliness, like a baddie doing a very poor Napoleon impression and a group of bandits that happen to be triplets. All this to say that the setup for the Legend of Calamity Jane is very sound, as you could have Jane and her pals in basically any late-1800s setting doing anything period-appropriate and it would work. If the series did get renewed for another season or two, I doubt they would've had to worry about coming up with new dangerous plots to throw this wise-cracking heroine into.

But alas, that didn't happen. For now, and likely forever, all we get is this single 13-episode season. But what we have is a good kids animated show that's well-executed and exciting for a younger audience. It's tough to recommend such a niche show, especially a cartoon that is relatively hard to find, but if you like cowboys, American Indians, gunfights, and lots and lots of out-of-control fires, then give this show a shot.

Avatar: The Last Airbender (2005–2008)

Just as great as you remember. Maybe even better.

[8/10 · 27 February 2024]

After watching the bland, confusing Netflix adaptation, I needed a palate cleanser to wash the cardboard taste out of my mouth. And I couldn't think of a better series to cure me than the original, the best, the true, the undefeated Avatar: The Last Airbender.

I'll freely admit that while I did watch the original run of A:TLA growing up, I didn't consider it to be my favorite show or anything like that. Sure, it would be so easy in retrospect to say that I was ahead of the curve and I loved it from the moment I started watching it. But in reality, it was something that I gradually grew through numerous rewatches and binges. I really do think that this show has endured for as long as it has because it, forgive the cliché, really does have something for everyone. Sure, the show was clearly aiming for a younger demographic early on, with some 2000s-era gross-out jokes, more "filler" episodes, and an overall lighter tone than what we would see in later seasons. But even with its weak points, season 1 was a solid foundation for a show. It gave viewers something to look forward to and a real sense of the world that these characters live in. You may scoff at oft-maligned episodes like "The Great Divide," but Avatar: The Last Airbender would not be the show it is without showing us how our main leads interact and solve their problems.

Speaking of which, one of the shows greatest points is its strong, recognizable main cast of characters. These are some of the most well-defined characters in animation, without a doubt. Maybe not the deepest like some may claim, but certainly perfect for the show they're in. In only a few episodes, you get a clear sense of Aang, Sokka, and Katara's personalities, their hopes, their wants, and what they are trying to achieve. It makes watching them, even through the series' few low points, worth it. You want to see these young characters grow and mature, joke around, and fight. What a lot of shows fail to realize is that a strong set of characters should be the basis of any work. The fights, animation, and lore are all great, but what fun would any of that be without characters we want to see? Why would we want to see Aang become the Avatar? Or Katara become a true waterbender? Or Sokka a warrior? It's because we WANT to be along for the journey!

Just as a side note, kudos to this show for showing examples of how to properly write strong female characters. There's this tendency in the modern day to show every girl as an inhuman "girlboss" because they're afraid to show women in a negative light. But what they fail to realize is that people aren't robots. Katara, and another team member later on, are examples of characters that are incredibly strong, but also flawed and human. They have distinct personalities that aren't just "mature" or "token girl on the team." Even Katara, who is usually usually kind and motherly to a fault, has moments where she breaks down, goofs off, jokes around, or gets angry. It's what makes them, and the boys as well, interesting to watch.

Of course, I would be remiss if I didn't speak about our villains. Prince Zuko remains one of my favorite characters, and a general fan-favorite to this day. The story of an underdog banished prince who is out to reclaim his honor just works so well with this premise. It allows him to travel and learn about the world in a way that traditional villains typically don't. With his affable Uncle Iroh by his side, the duo make for a great threat in the show's early seasons. They're threatening, while also having a comedic slant to them. The show does an excellent job of making the villains relatable, but still has them clearly as antagonists. But as the show progresses and we learn more about them, we start to understand why they are the way they are. And begin to question if everything is truly black and white. As the series progresses, we are introduced to other villains, including the big bad himself: Fire Lord Ozai. Ozai is one of the weaker characters, but really, it's out of necessity. We rarely see him throughout the series as anything other than a few glimpses, and it gives us as an audience the same information that our main heroes (and even Prince Zuko to an extent) have about him. While it would have been nice to get more in-depth with his character, it would have taken away from his mystique and almost-omnipresent power over the world.

The world of Avatar: The Last Airbender is one that is truly timeless, mixing in industry, mysticism, philosophy, and ancient worlds perfectly. You never question for a second why our characters live in a world with magic and steam power, because they never question it (aside from maybe a few fourth-wall-breaking gags about the strange animals that reside in the world). Each of the four nations has its own identity and flair, with smaller towns/villages with their own problems for our heroes to solve. The constant war is felt throughout the series, even when our main characters are taking a break to relax. You see devastation, poverty, refugees, and soldiers parading around the world. And it's not only our heroes that have to deal with these effects, but also our villains. It's done so well, you may not even realize how perfectly the web is woven. I didn't at first, but in my most recent rewatch of the series, you can tell a lot of thought went into how this world actually works and how they could use it to drive the story forward. Without getting too deep into spoilers, season 2 demonstrates this perfectly with all points converging on a particular city without it feeling contrived or too convenient.

I mentioned that the live-action Netflix adaptation was what pushed me watch this show again, and after completing it, I can say that trying to do this show in any other medium other than animation is pointless. You just can't get the same fluid action, exaggerated facial expressions, and beautiful landscapes by paying a thousand CGI/effects artists. It's just not the same. When you watch the fights in Avatar: The Last Airbender, their movements are distinct and calculated. No matter how much they might try, you can't replicate that in live-action. You also can't translate the show's charming brand of comedy to real people, as it is clearly influenced by anime and contemporary cartoons of the time. While there are moments in the show where the comedy fell flat for me or had poor delivery, there are more moments that worked well.

I do have my gripes with the show, but it's hard to get into without getting into heavy spoilers. So I'll just say that even with my issues with the ending and a particular Gaang member not receiving the screen time they deserve, my enjoyment of the show has not budged an inch. It's still a strong contender for one of the best animated series I've seen. The praise it has accrued over the years is well-warranted. I'm glad people have become more open to animation as an art rather than as just something for kids. The popularity of Avatar: The Last Airbender in the modern day is proof a solid story, an intriguing world, and lovable characters is all you need to make a great show that can persist even decades later.

Avatar: The Last Airbender (2024– )

Another day, another remake.

[4/10 · 23 February 2024]

Imagine the original Avatar as a collection of puzzles. This series is like if you poured them all out, mixed them together, and were told you had to solve it.

Not only does it looks bad, feature embarrassing CGI effects/choreography, have terribly-written dialogue, poor acting, and worse humor than the original series, but it somehow manages to gets even the most basic characterizations wrong. Sokka and Azula both suddenly have daddy issues when they didn't before (or at least to this extent). Sokka's dad is embarrassed by him now? Why?! Isn't Hakoda supposed to be a strategist and inventor too? Not anymore, I guess! Everyone's got to have issues and positive role models don't exist! Azula's cold, calculating nature from season 2 is all but gone, replaced with someone whose already on-edge and overly-emotional. She also talks back to her father in public, which is apparently not banishment worthy in the Fire Nation unless you're Zuko.

Katara is basically unrecognizable. She's upset she's seen as a "little sister who can't take care of herself," which is the exact opposite of her characterization in the original series. Iroh's so blatantly a turned good guy in episode 1, he may as well be looking into the camera and spelling it out for people. He's chit-chatting with Aang and handing out sage wisdom so often, you'd think he only spoke in proverbs. I'm kidding, but I think the writers of this show might actually think that. He even tries to jump in to save Zuko during the Agni Kai with Ozai, which is also not banishment worthy, I guess. Poor Bumi was a victim of character assassination, both figuratively and literally. Ty Lee and Mai are introduced, only to have them stand in the background and do nothing. No fun in this super serious Netflix adaptation, no sir! Ozai, whose supposed to overwhelmingly favor Azula, is now trying to pit her against Zuko for some reason? And is condemning her for being coy and deceitful? You know, the guy that killed his own father to take over as Fire Lord? I wasn't totally against introducing Ozai this early on in the series, but they dropped the ball so hard, it's unreal.

Storylines and episodes from different points in the series (even scenes as far out as the OG's season 3) are mixed together in a way that's confusing to both old fans & potential watchers. Some of the new additions just straight up make no sense, like Kyoshi being so prominent instead of Roku, the spirit world having Wan Shi Tong and elements of the season 2 episode "the Swamp," or Omashu having Fire Nation spies. Despite being nearly the same length as the original series' first season, this live action version feels incredibly rushed and disjointed. There's no room left for ambiguity or intrigue about the world or its people for newcomers, since everything is explained through stilted, expository dialogue in the first few episodes. Gran Gran says the intro of the animated show word-for-word as dialogue in what might be the most cringe-inducing scene I've seen in quite some time. Almost every new element added or old element removed is worse than the original and doesn't make any narrative sense. Why leave Sozin's Comet out until the end and effectively delete any tension/hook the show could've had? If time was the issue, just make it 3 years away or something instead of the end of Summer. Why isn't Aang learning any waterbending over the course of the season? Why does Aang not run away from his responsibilities (his main source of guilt)? Why even do "the Cave of Two Lovers" without Aang? What a waste!

And more importantly, where are the moral quandaries and questions from the animated series? Why skip Jeong Jeong and Aang's hard lesson about control? Or the lesson about learning to accept change from the "newly-renovated" Northern Air Temple? I know it may seem silly to harp on the lack of lessons for kids in the gritty Netflix adaptation, but they are necessary for Aang as a character to experience. You can't just cut them out and replace them with nothing! And it's not just Aang; Katara's most important character moments from this season are completely cut out ("Imprisoned," "The Waterbending Scroll"), leaving her with no growth at all. For all the "strong female empowerment" lip service you hear in interviews, leave it to Netflix to make one of the main heroines completely wooden and boring. How about instead of showing us every character's backstory a season too early, why not delve deeper into the characters than the OG show could through character interactions? They do this once with the Blue Spirit episode and in Suki's introduction. But aside from those scenes, that's pretty much it. Like the terrible 2010 movie, this show's so focused on giving you the CliffNotes version of A:TLA and shoving action set pieces in your face that it forgets why people actually liked the original in the first place. Netflix-budget CGI bending and scenic vistas are cool and all, but you know what's cooler? Good writing and characters!

The original Avatar: The Last Airbender animated series was one that kids, teens, and adults could enjoy. It's not perfect, despite what many people claim, but it does a lot right. This live action version does almost nothing right. It's inferior in basically every conceivable way. And just like all of these cash-grab remakes, all it does is make me want to watch the original again. Rushing through the story like they did makes me wonder why they even bothered adapting it at all, aside from money. Do grown adults in 2024 really turn their nose at an almost universally-beloved show because it's animated so often that it justifies making this wannabe Game of Thrones bilge?

I doubt there's anyone out there foolish enough to do this, but just in case: if you're trying to get into A:TLA through this series, you are doing yourself a huge disservice. Put your ego on the shelf and just watch the animated version.

The Super Mario Bros. Movie (2023)

More product than movie.

[3/10 · 8 April 2023]

Nintendo is very protective of their copyrights and characters, including the game publisher's favorite portly plumber, Mario. If you ask anyone, they could tell you why. In the wave of Nintendo mania, the 80s and 90s were littered with sub-par products to capitalize on their success in the video game market. Things like the oft-lampooned 1993 Mario Bros film and the memetic CD-i games are just a few of the lapses in good judgment the company displayed during this time. Frankly, I don't blame them for playing it close to the chest when it comes to their properties.

The Super Mario Bros. Movie is a direct reflection of that hesitance to branch out. It is a product to advertise before all else. Nintendo gave this to Illumination because they knew they were the people for the job. They knew they could produce the most generic, yet profitable "product loaf" imaginable. They likely gave the studio three criteria when making the movie: fill it with references, make their theme park look good, and stay in line. Anything else (memorable moments, good story, character development) were all tertiary or not a concern in the slightest. I don't doubt Miyamoto was heading this in the slightest, as any attempt to push Mario into even a slightly new direction or give characters any dimensions at all is thwarted by him.

The voice-acting is Hollywood A/B-listers as the main cast instead of real voice actors. Again. What, was SUPER MARIO not enough to sell the movie? Some of the performances are better than others, but it all just sounds so bland. Some of them don't even try to do a voice (Anya Taylor-Joy, Seth Rogan). It really is a shame they don't get people who can actually say lines in a booth properly for these animated "film products," but if that's what they think they need to do to get people in the seats, then whatever. It's far from the worst thing about the movie.

The movie's greatest flaws, by far, are its writing and pacing. There were a few moments in this that were genuinely cringe-inducing. It pulls the movie down from pretty average 5/10 kids fare to downright awful. I'm not even exclusively referring to the references they embarrassingly try to mangle into dialogue. There are parts where two characters are just talking to each other that are so stilted and unnatural, that it makes me think this was written in an afternoon without even as much as a cursory look-through. That said, the references are just as unbearable in this. Lines like "your princess is in another castle" and "it's on like Donkey Kong" made my skin crawl. And they're all said with that smug "wink-wink, that one's for the REAL fans" tone. Gives me a headache. I promise you that the guy who wrote Big Mommas: Like Father, Like Son and Minions: The Rise of Gru doesn't care about Mario Bros. I don't really mind the nods to the games (what else do you do with a Mario movie in 2023, after all), but I can't help but see this as a cynical way to drive interest in the 30-to-50-year-old manchild demographic. Consume product, fellow Mario fans.

When it's not making surface-level references to the games or other Mario media, the movie rushes through its set-pieces like it's literally racing towards a finish line. The way they blitz through Peach's hack-writer-mandated sad backstory in less than a minute made me actually laugh out loud. The only laugh I had during the movie. They don't even stop to let the new, whimsical surroundings of the Mushroom Kingdom sink in. Mario adjusts so well to his new surroundings that you forget that he's a plumber from Brooklyn in a fantastical new world. Doesn't help that every 10 minutes there's a pop song playing to take you out of it. Another check mark checked off the animated kids film product list.

All in all, the Super Mario Bros. Movie relies too heavily on references to distract from its terrible script and boring characters. Aside from a few good orchestral renditions of the classic OST, a handful of okay voice performances, and passable animation, there isn't anything here for you unless you're 10 or you have a shelf of Mario memorabilia and an overpriced Mario Lego set on your shelf. If "it's a kids movie" and "it isn't supposed to be that deep" are your only defenses for this "movie," might I suggest playing a Mario game instead? They might lack a good story, but at least those are fun.

The Wheel of Time: Leavetaking (2021) Season 1, Episode 1

Boring first half, hilarious second half

[4/10 · 15 December 2021]

I went into this episode totally blind, not so much as knowing it was an adaptation of a book series. But, it looked interesting enough to give it a cursory watch. Lesson learned.

The first half is boring character setup, as one would expect from a first episode of a series. I didn't end up caring about any of the main cast or for the burned down mountain village. Nice overused trope, by the way. The characters are wooden here, but I'm sure they get fleshed out later. The script is really bad at parts as well. I was willing to give the show the benefit of the doubt, as again, it's the first episode.

But the second half is unintentionally the funniest thing I've seen in a while. The villagers are lighting lanterns for a festival when all of a sudden, a bunch of orcs just start attacking the village. The orcs have an in-universe name, but they're basically just generic fantasy orcs. The camera is so shaky and the scene is so dark, you can barely make out what's happening. It's chaos and it's lovely. One of the characters nearly chops clean through his girlfriend/wife with an axe and ends up killing her. When the "evil" (clearly red herring) lady starts casting her wind magic, it looks like a Disney stage production. On par with The Last Airbender movie in terms of effects and fight choreography. She just pelts the orcs with rocks and pushes them away with wind. She, apparently, also has the power to heal wounds. Meanwhile, the villagers are stabbing them with pitchforks and knives and the orcs barely react. And the generic fantasy music blaring in the background as if the action is so grandiose! Genuinely hilarious.

I'd only recommend this to people for a quick laugh. Maybe it gets better as it goes along, but this is a pretty terrible first impression.

Fairfax (2021–2022)

Better than you'd think, but still not all that impressive.

[5/10 · 30 October 2021]

Amazon-owned IMDb wants you and I to watch this show. Okay.

Show is 80% Gen Z slang and references to things only always-online kids will understand. Social media, influencers, fashion brands, and other things like that. The show doesn't take itself too seriously and pokes fun at how fleeting trends are, but also banks on viewers being aware of current trends. Talk about a mixed message. Needless to say, it will ultimately age like milk and be thrown away by next year. Even watching it as someone who knows what they're referencing and parodying, this is pretty lukewarm stuff. None of the "jokes" really landed.

Tl;dr: "Not funny, didn't laugh" (if you're in the market for new writers Fairfax showrunners, I'm available).

The other 20% of the show is actual character stuff, which is interspersed between basic adult cartoon plots. Random, unstructured bits of fantasy, surrealism, gross-out, teen drama/comedy litter the episodes. No unifying style. Just whatever they want to do for a quick gag that episode. The main cast actually does have personalities and quirks that aren't just "sitcom Gen Z child #1," so that's nice. Not a high bar to clear, but considering how terrible the show looks/sounds on paper, I'm giving them points for trying.

Animation is what you'd expect from a cheap cartoon. That's all I'll say on that topic.

Between the flood of 18-year-olds saying this is a work of art because some famous person they know voice acts in it and 50-year-olds giving this a 1/10 because they don't understand what's going on, the level-headed will recognize Fairfax for what it is: pandering to a specific demographic. It's totally harmless streaming service fodder. I'm sure the people working on this care about their work, but I hope they're not banking on this lasting very long.

Star Trek: Voyager: The Void (2001) Season 7, Episode 14

What Voyager should have been from the start.

[9/10 · 30 July 2021]

In watching Star Trek: Voyager, I wished for something different from the previous series. The premise is perfect, having a Federation ship flung lightyears away from their home and dropped into the middle of an unexplored part of space. With Maquis joining the crew as a means to survive, the USS Voyager would have its morals put to the test throughout the series. Most of the time, Federation morals would win the day (it is Star Trek, after all). But as the crew is tested on their journey home, there are times that tough decisions must be made. Living for years off only what the ship can afford, getting by through alliances and trades (and sometimes more aggressive means), and putting all power to engines and life support. It's not ideal, but through it all, the Voyager crew makes it work.

Much to my dismay, this isn't what happened. Star Trek: Voyager ended up just like any other Star Trek series up to this point. Their lives are so cushy on Voyager, it's treated more like a vacation, rather than an unfortunate circumstance. Ship almost out of fuel? No worries, lets just find some; easy as that. Bored? Holodeck is a-calling. If you're feeling peckish, just replicate some steak. No drama, no intrigue, no sense of exploration. At a certain point, even before the Maquis had officially been defeated back in the Alpha Quadrant, you forget there were even outlaws/terrorists aboard.

"The Void," in my mind, is the alternate universe where Star Trek: Voyager actually tired to make the premise work. Voyager is sucked into a void (a different void than the one from "Night," apparently) and is forced to fend for themselves/find a way out. Which, might I point out, is the same premise as the show as a whole. At first, Janeway's attempts at diplomacy fall on deaf ears, with the other trapped ships being understandably skeptical. After all, they've presumably been here for much longer than Voyager has. But it all comes together in the end, a few deserters notwithstanding. Even when it would be easier to just plunder other ships for the parts they need, Janeway keeps Federation ideals. Unable to find any usable loophole in the Federation Charter, the captain holds steady. Even when others questioned her methods. And in this instance, it worked in Voyager's favor.

This episode had everything that I was looking for in Star Trek: Voyager. A positive outlook in spite of a bad situation, alliances with alien species, anomalies, betrayal, cooperation, first contact (with Fantome's species), and joining forces with Delta Quadrant species to find a way to survive. This is Voyager at it's best and one of the best episodes of the series, no question. I only take points off because, as others have noted, this would've worked much better as a two-parter. Showing a little more struggle between Janeway's morals and keeping Voyager's crew safe would've made this a perfect Star Trek show.

It's such a shame that it took 7 seasons and multiple failed plotlines (Kazon/Borg Queen/Malon, your pick) for the writers to figure out something so simple. It's lame, but Janeway's line towards the end of the episode says it all: "It was almost like being part of the Federation again." To me, "The Void" was almost like watching an interesting version of Star Trek: Voyager.

Star Trek: Deep Space Nine: Trials and Tribble-ations (1996) Season 5, Episode 6

Strip away the gimmick and you're left with very little.

[6/10 · 29 April 2021]

"An interesting concept, an editing marvel, powerful performances, a love letter to classic Star Trek."

Blah-de-blah-de-blah.

I know I should expect people to wet their pants over blatant fanservice by now, but it's really hard not to see the average rating for what it really is. Fanboys so blinded by nostalgia that they rate based solely on the fact that something they know is being referenced. Look, it's KIRK! Hey, is that SPOCK? They referenced the KLINGONS looking different!

TRIBBLES!!!!!

You better believe it! They're all here! Now hand over those ticket stubs you sweaty nerds, as we play you a TOS rerun. With a boring side story involving the DS9 crew tacked on top, of course. It's cute to see them use 90s editing techniques to tape the crew into the background, as well as re-creating the sets and dressing the part. Though, I'm willing to bet a lot of these 10/10 ratings are coming from horny old perverts happy to see Dax in a classic uniform. Get some class, you filth.

The truth is, separated from the gimmick, Trials And Tribble-ations is just a plain episode. The intrigue comes from seeing old faces and DS9 together through the use of fast editing cuts and some clever footage manipulation. That's really all there is to it. They go back in time, which is already an overused trope in Star Trek, and mess around in the background for 30 minutes. And then it just... ends. I guess by that point, the writers ran out of "fun" ideas and just decided to end the episode. Sisko's little interaction with Kirk towards the end was cute though, I admit it. But unlike most of you (apparently), I don't think references make up for a poor plot.

The reason they'll never let these poor TOS characters rest, and keep putting them in reboots (those Abrams movies) and future series (STD bringing back Spock as a sad last-ditch effort at getting people to watch), is because they know it gets the trekkies shrieking like groupies. It's why they'll keep bringing back these characters over and over and over and over again.

It's far from the worst DS9 episode, I'll give it that much. But me saying that doesn't matter. I'm sure this review will have a ton of "not helpful" votes on it for daring to leave an even slightly critical review of this "masterpiece". To those people, here's a helpful tip for your troubles: stop living in the past.

Star Trek: The Next Generation: Hollow Pursuits (1990) Season 3, Episode 21

Unbearably annoying, courtesy of Lt. Barclay.

[5/10 · 9 December 2020]

There's a good premise behind Hollow Pursuits, with an officer being addicted to fantasies conjured up by the holodeck. That's a good idea in theory, and it might've even made for a pretty good episode. But any and all potential for Hollow Pursuits to be good is loss when the focus of the episode is set on the awful character of Reginald Barclay, who is physically painful to watch whenever he's on-screen. I can't even get through this episode in one sitting these days, as I have to keep pausing to decompress for a minute and let the bile settle. Apparently my tolerance for watching a grown man act like an awkward teenager is severely lacking.

The character is commonly listed as a fan favorite recurring character, but for the life of me, I can't figure out why. I get being an introvert or socially awkward, but if you find Barclay's antics "empathetic" or "relatable," I really hope you're getting the proper help. I guess we all do find some solace in escapism in a similar way (we are talking about a sci-fi show here), but like La Forge says in the episode: "nobody wants to be around this guy." And considering how he acts in the outside world and on the holodeck, can you really blame people for not wanting to interact with him? I'd be uncomfortable just looking at the guy.

Other than that, the episode is just okay. I will admit that Barclay dual-wielding sabers and fighting off the bridge crew was fun and seeing the crew's reaction to Barclay's creepy holodeck "shenanigans" was cathartic, but other than that, the episode just kind of fizzles out before it ever even had the chance to light. Nothing of consequence really happens in this episode, despite the writer's best efforts. The ship malfunctions, causing some general, nonspecific ruckus and the day is partially saved by Barclay, who despite being characterized and portrayed as a complete doofus, shows some smarts all of a sudden at the tail end of the episode. Hooray. Barclay gets to return in other episodes (and other series) and lives to squirm another day. God help us all.

Star Trek: The Next Generation: The Arsenal of Freedom (1988) Season 1, Episode 20

A mostly great episode, harmed by old habits.

[6/10 · 16 November 2020]

It's always unfortunate when an otherwise solid episode of a TV show gets marred in bad habits. And nowhere is that more the case than the TNG episode, the Arsenal of Freedom. Here, we have some much needed development for a few members of the Enterprise's bridge crew. Geordi especially has some nice moments here.

But everything surrounding it, from the gauche planet set to the oddly sterile editing to the rest of the main crew's delivery to the main plot's conclusion, make this episode feel woefully regressive. It's like watching an old friend relapse after going cold turkey for a while.

People often note that the first 2 seasons of TNG feel more like the original 60s series, but here, I feel it's more half n' half. Half old, half new. And going back and forth between them makes the Arsenal of Freedom an uneven watch.

The Eric Andre Show: James Van Der Beek/Steve-O (2013) Season 2, Episode 5

"Tell us your favorite story..."

[10/10 · 31 March 2020]

I had my doubts about The Eric Andre Show early on, but those doubts were squelched after watching this episode. It's a spiritual experience.

Best 11 minutes of television ever made.

The Orville (2017–2022)

The Orville is unoriginal and (sometimes) crude. Despite it all, it's a throwback worth giving a chance.

[7/10 · 21 November 2019]

Let's not mince words here: The Orville is complete Trekkie fan-service. With plots, character dynamics, setting, and pretty much everything else taken directly from previous incarnations of Star Trek (specifically TNG and DS9). Anyone whose watched those two shows will immediately see the similarities.

So why is it that I can't help but get excited for The Orville? Has it been so long since the glory days of TNG that I'm feeding off scraps and have lowered my standards? Probably. But Seth MacFarlane is a self-proclaimed Trek fan, and if this show has done anything, it made me wholeheartedly believe him for the first time.

Marketing this as a comedy was a very, very big mistake. The comedy is by far the weakest aspect of the show, and it isn't very prominent in most episodes. Sure, there will be a flop of a joke thrown in towards the tail-end of a scene, but that's usually it. For the most part, it's structured and acted like a standard sci-fi show with interesting plots, great leads/secondaries, well-enough CGI, and an intense crush on Star Trek. It's basically a TNG reboot: that's the selling point and most likely the thought process of the crew working on this. Any advertising or reviews you read that judge it as a comedy alone are ludicrously out-of-touch.

Much like TNG, the actual focus of the show is action and drama. The Orville does large action scenes well (in the few episodes it does have intense action), but it never forgets that character is what's most important. You can show a billion exploding starships or what have you, but it all means next to nothing if there isn't an emotional connection to what's happening. And The Orville, for the most part, excels in this area. In fact, the drama is probably the show's best aspect. I could do without the romantic drama (which is sadly the show's driving plot so far), but the rest more than makes up for it.

I can see The Orville's blatant plagiarism being a turn-off to the most stern of sci-fi fans. And I have to admit that it is hard to ignore. Like Issac, who is very obviously just Data with a metallic paint job (no spoilers, but god is it blatant). Or Bortus, who is Worf. Or any of the major plot points as of season two, which are all taken from Star Trek. It's things like that keeps me from giving it a higher score. I hope that by season 3, the show gains a little more identity and puts the effort into making new stories and characters. I enjoy watching it for sure, but being creatively bankrupt isn't something that should be praised.

All of my frustrations with the show aside, I really enjoyed it. I won't pretend that it's some brilliant show that demands your attention. But for anyone that felt jilted by the newest incarnation of Star Trek, I don't know if there will ever be a closer approximation to the original feeling of Trek than The Orville.

Primal (2019– )

Genndy shines again with the gory, surprisingly-heartfelt Primal.

[8/10 · 16 October 2019]

Taking the criticism and praise of Samurai Jack's 5th season to heart, Tartakovsky challenged himself to create a series without any real dialogue. And while I'm a bit sick of 'gimmicks' similar to this ("it was shot in one long take," anyone?), he does a pretty good job. The main draw for me, and presumably most people, are the beautiful backgrounds and impactful animation. Props to Genndy, Scott Wills, and whomever else, because Primal looks gorgeous. But I'd also like to praise the soundtrack and sound design, with a lot of those classic cartoon-ish sound effects he uses mixed in with the sounds of drums, ambiance, and bloody murder. It makes for a pretty surreal watch, but I like it that way.

The story is very simple, a necessary sacrifice due to the lack of dialogue. Samurai Jack was also fairly simple in premise, but more than made up for it in nearly every other department. I'd say that same metric applies to Primal. Not meant as a slight against it, but I could definitely see a general audience not latching onto Primal at all. Which makes its placement on Adult Swim, with it's demographic of mainly 20-30 year olds and animation-loving loons, all the more understandable.

I'll refrain from saying too much about the story, but I doubt 'spoilers' would diminish anyone's enjoyment of this. It's a must watch for anyone with even a passing interest in more 'adult-oriented' animation (pardon my poor word choice here). Adrenaline-pumping and heart-touching; what more could you ask for?